Articles Street Rebels with a Cause: Punks and Their Influence on Forms of Artistic Protest Mag. Dr. Philipp G. Schadner Email (personal): [email protected] Abstract The social movements and protest initiatives of the 1970s, especially the punk movement not only questioned and provoked aesthetic values but also has a major influence on the multitude styles of the street and urban art until the present. Since early punks gathered in the streets, squares or parks of London, and other cities in Europe or the U.S., they use their bodies as canvases to express creativity as well as a form of resistance and direct channel of communication. The aim of this article is to show that punks were participants in the rebel streets as individuals and collective counterparts of mainstream society not only because of their scepsis about the status quo of societal norms and aesthetical ideologies but also through maintaining influence on various forms of artistic protest in the urban space. Keywords: body art/modification, punk, aesthetic protest, street art, zines Introduction resistance by so-called “second class citizens” against the One of the most rebellious social movements, which can values of the dominant society and their participation in be traced back to the early and mid-1970s in various urban political mobilization networks. This article also discusses spaces and still has an ongoing influence on different art how street artists such as Hugo Kaagman, Shepard Fairey, styles, is the punk movement. This article will give insights Banksy or Jilly Ballistic are influenced by the punk attitude into the beginning of the punk scene, the symbols and and the DIY credo or how they use the characteristic slogans punks used not only for tagging urban spaces, but aesthetics. One of the major initial points for the punk also put temporarily or permanently on their skins and/or movement to fetch public awareness globally, was on their clothes to confront mainstream society through their November 6, 1975, when the British band Sex Pistols (fig. visual appearance. The participants within this counter- 1) played their first gig in the St. Martin’s School of Art. movement were described in various media reports as Although this recital was broken off after a couple of songs depraved or vicious because of the societal negation of due to the chaotic behavior of the musicians (Blake et al., mainstream values that horrified most of the common 2006; Brake, 1985).1 people and the various radical forms of protest against the ideologies or aesthetics of previous subcultural movements ( i.e the teddy boys, the mods, the zoot suiters or the hippies). (Baumann, 2007; Blake et al., 2006; Colegrave and Sullivan, 2005; Crossley, 2008; Lentini, 2003; Reinecke, 1 - In the same year and before the New York City music club CBGB 2012; Roberts and Moore, 2009; Rubin et al., 1988; Wojcik, was the hub for the punk movement in the U.S., where bands like the Dead Boys or the Ramones played their first shows (cf. Blake et 1995). al., 2006; Colegrave and Sullivan, 2005; Roberts and Moore, 2009). The so-called proto-punk bands MC5, Iggy & The Stooges or the The discussion of this essay concentrates on the New York Dolls started some years before in the U.S. and moved amalgamation of the punk scene with art styles like music, to London in 1972; together with Andy Warhol and the Situation- ist Art Network they had a major influence on the punk movement fashion or literature. For example, the role of influential in Europe ( Blake et al., 2006; Brake, 1985; Colegrave and Sullivan, bands, boutique owners or zines for various ways of 2005; Crossley, 2008; Lentini, 2003; Wojcik, 1995). 10 UXUC - Journal V2 - N1 Art and Urban Social Struggles Fig. 1 - The original line-up of the Sex Pistols. Left to right: Johnny Rotten, Steve Jones, Glen Matlock and Paul Cook (https:// findery.com/heather/notes/november-6-1975-sex-pistols-play-their-first-gig - accessed on August 18, 2020). 11 UXUC - Journal V2 - N1 Art and Urban Social Struggles The last mentioned venue illustrates the connection The boutique at 430 King’s Road was first opened in the between art and punk. It also exposes a concert poster that back room of a store called Mr Freedom under the name mentions the Sex Pistols as a support band (fig. 2), reveals Let It Rock in 1971, where teddy boy clothes designed by the early punk aesthetics and could be seen all around Westwood were sold. After a gradual shift–to customized London’s public places—especially the boutique SEX (fig. 3) biker jackets with studs and chains or black sleeveless of the fashion designer Vivienne Westwood and the visual T-shirts decorated with motorcycle slogans–the shop was artist and manager of the Sex Pistols Malcolm McLaren.2 renamed Too Fast to Live Too Young To Die two years later and Furthermore, London SS, The Clash, The Damned or The Slits still kept the chief aim to provoke mainstream society with were influential British punk bands from the early years oppressive designs. In 1974, McLaren reopened the shop as (Blake et al., 2006; Colegrave and Sullivan, 2005; Crossley, a fetish and bondage outlet. Not only its interior changed 2008; Wojcik, 1995). obviously and was partly covered with graffiti from the SCUM (= Society for Cutting Up Men) manifesto but also the name was altered to SEX and soon became a famous meeting place for many participants in the movement (Blake et al., 2006; Colegrave and Sullivan, 2005; Crossley, 2008). Although McLaren stated that the punk clothing was created by Westwood and for him “it wasn’t fashion as a commodity. This was fashion as an idea” (cited in Blake et al., 2006: 87). This boutique, which was renamed Seditionaries: Clothes For Heroes in 1976 and is since the late 1980s called World’s End, was at the same time the starting point for the commercialization of punkish fashion (for example, clothes resp. body art).3 The accountant of another famous clothing store and popular gathering point for punks–called Acme Attractions at King’s Road 135–was Andy Czezowski, who managed The Damned and launched one of the first punk venues at 201 Wardour Street in London’s Soho, the Roxy. Its holders, John Krevine and Steph Raynor, opened the first high- street punk shop, BOY, in 1976 and were also the managers of the punk band Chealsea. Many early punk bands like the Buzzcocks, The Clash or The Unwanted had a few gigs there before the Roxy was closed after 100 days on April 23, 1977. In the same year, The Votrex and the Marquee were other important locations in London where punks came together and influenced each other in various artistic and aesthetic Fig. 2 - The concert poster for Bazooka Joe & his Rhythm Hot ways. In front of the last mentioned venues and stores, it Shots in St. Martin’s Art School (1975), which mentions the frequently happened that participants in the movement Sex Pistols as a support band (https://gramho.com/explore- drew the public attention on themselves because of their hashtag/theonlyfleamarketthatmatters - accessed on June obscene behavior and provocative appearance (Blake et al., 20, 2020). 2006; Colegrave and Sullivan, 2005; Crossley, 2008). 2 - McLaren described the origin of the name for the Sex Pistols as 3 - As Wojcik notes that once “the industry of haute couture com- follows: “Taking their name partly from the shop, SEX, I then added modified punk adornment for elite and mass consumption, the out- the word Pistols” (cited in Blake et al., 2006: p. 280). ward forms of punk aesthetic lost much of their potential to disturb and infuriate” (1995: 20). 12 UXUC - Journal V2 - N1 Art and Urban Social Struggles Fig. 3 - The boutique SEX at 430 King’s Road, London. On the lintel behind the pink rubber letters was sprayed with Thomas Fuller’s dictum: “Craft must have clothes but truth loves to go naked” (https://www.reddit.com/r/london/comments/de1x29/ sex_kings_road_1976_vivienne_westwood_malcolm/ - accessed on November 9, 2020). 13 UXUC - Journal V2 - N1 Art and Urban Social Struggles Fig. 4 - A punk sprayed the band name Sex Pistols with a stencil on his jacket (https://mopop.de/storys/rohe-punkrock-en- ergie-zum-lesen-das-buch-hamburg-calling-von-alf-burchardt-und-bernd-jonkmanns-handelt-von-der-wilden-zeit-2531/ - accessed on November 9, 2020). The punk subculture of the 1970s was characterized by to entice” (1995: 19). Although their critique of moral and anti-commercialism as well as anti-capitalism and the aesthetic norms has often been reduced as naive or even participants within the movement created not only anti- “primitive,” it constituted a critique resp. a refusal of the fashion aesthetics but also an own way to show their status quo. Because the concept of art is mainly associated individuality and rejection of common fashion ideas and the with the traditional relation between patrons and artists, art industry itself.4 The characteristic adornment frequently masters and pupils, punks not only threatened cultural violated political, religious and sexual taboos. As Wojcik boundaries, but also national morals, dominant ideologies. points out that not only swastikas and inverted crosses or As a consequence, they challenged elitist concepts of what crossed-out crucifixes were common symbols to horrify art should be and who could be entitled to create it (Blake rather than to indicate an actual interest but also “deviant et al., 2006; Brake, 1985; Moore, 2010; Reinecke, 2012; connotations were especially evoked by punk use of the Wojcik, 1995; Wroblewski and Ostermann, 1988).